| |
| |
Preface | |
| |
| |
| |
The Twilight of the Tonal System | |
| |
| |
Introduction | |
| |
| |
Diatonic Tonal Music | |
| |
| |
Chromatic Tonal Music | |
| |
| |
Chromatic Harmony | |
| |
| |
Chromaticism and Musical Form | |
| |
| |
Suspended Tonality and Atonality | |
| |
| |
Summary | |
| |
| |
Notes | |
| |
| |
Exercises | |
| |
| |
| |
Scale Formations in Twentieth-Century Music | |
| |
| |
Introduction | |
| |
| |
Five-Note Scales | |
| |
| |
Six-Note Scales | |
| |
| |
Seven-Note Scales: The Diatonic Modes | |
| |
| |
Other Seven-Note Scales | |
| |
| |
Eight-Note Scales | |
| |
| |
The Chromatic Scale | |
| |
| |
Microtonal Scales | |
| |
| |
Other Possibilities | |
| |
| |
Summary | |
| |
| |
Notes | |
| |
| |
Exercises | |
| |
| |
| |
The Vertical Dimension: Chords and Simultaneities | |
| |
| |
Introduction | |
| |
| |
Conventional Tertian Sonorities | |
| |
| |
Tertian Chords with Added Notes | |
| |
| |
Tertian Chords with Split Chord Members | |
| |
| |
Open-5th Chords | |
| |
| |
Quartal and Quintal Chords | |
| |
| |
Secundal Chords | |
| |
| |
Mixed-Interval Chords | |
| |
| |
Whole-Tone Chords | |
| |
| |
Polychords | |
| |
| |
Summary | |
| |
| |
Notes | |
| |
| |
Exercises | |
| |
| |
| |
The Horizontal Dimension: Melody and Voice Leading | |
| |
| |
Introduction | |
| |
| |
Tonal Melody | |
| |
| |
Some New Stylistic Features of Twentieth-Century Melody | |
| |
| |
Some Aspects of Melodic Organization | |
| |
| |
Voice Leading in Twentieth-Century Music | |
| |
| |
Summary | |
| |
| |
Notes | |
| |
| |
Exercises | |
| |
| |
| |
Harmonic Progression and Tonality | |
| |
| |
Introduction | |
| |
| |
Traditional Approaches to Harmonic Progression | |
| |
| |
New Approaches to Harmonic Progression | |
| |
| |
Nonharmonic Music | |
| |
| |
Establishing A Tonal Center | |
| |
| |
Tertian and Nontertian Pitch-Centricity | |
| |
| |
Polytonality | |
| |
| |
Atonality | |
| |
| |
Pandiatonicism | |
| |
| |
Summary | |
| |
| |
Notes | |
| |
| |
Exercises | |
| |
| |
| |
Developments in Rhythm | |
| |
| |
Introduction | |
| |
| |
Syncopation | |
| |
| |
Written Rhythm and Perceived Rhythm | |
| |
| |
Changing Time Signatures | |
| |
| |
Nontraditional Time Signatures | |
| |
| |
Polymeter | |
| |
| |
Ametric Music | |
| |
| |
Added Values and Nonretrogradable Rhythms | |
| |
| |
Tempo Modulation and Polytempo | |
| |
| |
Serialized Rhythm and Isorhythm | |
| |
| |
Summary | |
| |
| |
Notes | |
| |
| |
Exercises | |
| |
| |
| |
Form in Twentieth-Century Music | |
| |
| |
Introduction | |
| |
| |
Binary Form | |
| |
| |
Ternary Form | |
| |
| |
Rondo Forms | |
| |
| |
Other Part Forms | |
| |
| |
Sonata Form | |
| |
| |
Sectional Variations | |
| |
| |
Continuous Variations | |
| |
| |
Canon and Fugue | |
| |
| |
Proportion: The Golden Mean | |
| |
| |
Nonthematic Delineators of Musical Form | |
| |
| |
Nonorganic Approaches to Musical Form | |
| |
| |
Summary | |
| |
| |
Notes | |
| |
| |
Exercises | |
| |
| |
| |
Imports and Allusions | |
| |
| |
Introduction | |
| |
| |
Influences from the Past | |
| |
| |
Influences from Folk Music, Jazz, and Rock | |
| |
| |
Music from other Cultures | |
| |
| |
Summary | |
| |
| |
Notes | |
| |
| |
Exercises | |
| |
| |
| |
Nonserial Atonality | |
| |
| |
Introduction | |
| |
| |
Characteristics of Atonal Music | |
| |
| |
Pitch-Class Sets | |
| |
| |
Octave Equivalence, Transpositional Equivalence, and Normal Order | |
| |
| |
Inversional Equivalence and Best Normal Order | |
| |
| |
Prime Forms and Set Classes | |
| |
| |
The Interval-Class Vector | |
| |
| |
Forte Labels | |
| |
| |
Subsets | |
| |
| |
Aggregates | |
| |
| |
More About Segmentation | |
| |
| |
Summary | |
| |
| |
Notes | |
| |
| |
Exercises | |
| |
| |
| |
Classical Serialism | |
| |
| |
Introduction | |
| |
| |
Basic Terminology | |
| |
| |
The Twelve-Tone Matrix | |
| |
| |
A First Example | |
| |
| |
Analyzing A Row | |
| |
| |
Compositional Uses of the Row | |
| |
| |
Set Succession | |
| |
| |
Combinatoriality | |
| |
| |
The Analysis of Serial Music | |
| |
| |
Summary | |
| |
| |
Notes | |
| |
| |
Exercises | |
| |
| |
| |
Timbre and Texture: Acoustic | |
| |
| |
Introduction | |
| |
| |
New Timbral Effects from Traditional Instruments | |
| |
| |
Wind Instruments | |
| |
| |
Stringed Instruments | |
| |
| |
Percussion Instruments | |
| |
| |
The Piano | |
| |
| |
The Voice | |
| |
| |
Instrumentation and Orchestration | |
| |
| |
Traditional Textures and Compound Textures | |
| |
| |
Pointillism, Stratification, and Sound-Mass | |
| |
| |
Texture as a form Determinant | |
| |
| |
Summary | |
| |
| |
Notes | |
| |
| |
Exercises | |
| |
| |
| |
Timbre and Texture: Electronic | |
| |
| |
Introduction | |
| |
| |
Concrete Music | |
| |
| |
The Classical Electronic Music Studio | |
| |
| |
Digital Synthesis | |
| |
| |
The Development of Midi | |
| |
| |
Samplers, Personal Computers, and Recent Trends in Digital Synthesis | |
| |
| |
Tape and Instrument, Live Performance, and Interactive Computer Music | |
| |
| |
Notation of Electronic Music | |
| |
| |
Summary | |
| |
| |
Notes | |
| |
| |
Exercises | |
| |
| |
| |
Serialism After 1945 | |
| |
| |
Introduction | |
| |
| |
Integral Serialism | |
| |
| |
Integral Serialism in Perspective | |
| |
| |
Other Aspects of Serialism | |
| |
| |
Music After Serialism | |
| |
| |
Summary | |
| |
| |
Notes | |
| |
| |
Exercises | |
| |
| |
| |
The Roles of Chance and Choice in Twentieth-Century Music | |
| |
| |
Introduction | |
| |
| |
Chance in Composition | |
| |
| |
Choice in Performance | |
| |
| |
Some Examples of Performer Indeterminacy | |
| |
| |
Graphic Scores and Text Scores | |
| |
| |
Music on the Fringe | |
| |
| |
Summary | |
| |
| |
Notes | |
| |
| |
Exercises | |
| |
| |
| |
Minimalism and Beyond | |
| |
| |
Introduction | |
| |
| |
Minimalism | |
| |
| |
Beyond Minimalism | |
| |
| |
Summary and Conclusion | |
| |
| |
Notes | |
| |
| |
Exercises | |
| |
| |
| |
Prime Forms, Forte Labels, and Interval-Class Vectors | |
| |
| |
Bibliography | |
| |
| |
Index | |